Reunited…and it feels so dud!
Last week, comedy legend Bill Cosby confirmed publicly that there would be no reunion for his hit 80s family sitcom The Cosby Show. This was a relief since the franchise had already been stretched thinner than Tyler Perry on Slimfast with a deluge of spin-offs and sequels and yet still remains dear to audience’s hearts. But where is the demand for TV reunion shows coming from? There’s never been more old TV available to viewers. A large chunk of cable is devoted to re-running classic programmes and internet TV services archive a range of older series for instant access. This reminiscence fuels the public’s nostalgia and brings archaic programmes back into cultural circulation, which in turn makes them ripe for reunion rumours. Classic shows have become so popular on some channels and services that they are now a part of their brand identity and company executives try to capitalise on this by creating new episodes under their banner. There’s also never been more ways to make and watch television. TV can now be made solely for internet distribution, or pass freely between broadcast TV and online video. This gives programme-makers a wider range of options for content and delivery, which makes reunions more attractive since it doesn’t necessarily mean going back into full-scale production any more. It also makes the reunion less official and thereby received more generously, with fans enjoying it as an indulgent treat rather than criticising it for not standing up to the rest of the canon.
Bill Cosby issues a threat to any comedians considering a TV reunion.
But is a TV reunion ever a good idea? Some programmes are so completely synonymous with a moment in time that to attempt to revive them in any other era is absurd and the effect like an out-of-body experience. Often, so much time has elapsed between finale and reunion that cast and crew cannot – whether due to age, health or simply lost touch – re-capture that which viewers loved so much. Whether or not fans and former viewers are willing to buy into a reunion can come down to the motivations behind it. If a reunion is a genuine attempt to create new fiction based around familiar characters and situations because of interest in continuing the story, then audiences tend to give it a (finite) chance. If the motivations are purely monetary and a cynical attempt to exploit a commodity by prolonging it unnaturally, then how can its devotees feel anything but used? Larry David’s semi-autobiographical sitcom Curb your Enthusiasm faced the problem of reunions head-on. In the show, the cast and crew of celebrated sitcom Seinfeld reject the prospect of 10-year anniversary show on the basis of how pathetic and desperate it would make them all look. Larry selfishly convinces them to do it so he can cast his ex-wife and win her back, and we see parts of the reunion episode in the season finale. David gave Seinfeld fans what they wanted without desecrating their favourite show while demonstrating he was well-aware of the dangers of reuniting.
Just don’t ask about the finale…
Seinfeld staged another reunion this year with a trademark dinerlogue between protagonists Jerry Seinfeld and George Costanza shown on internet TV service Crackle as a video short for Seinfeld’s Comedians in Cars Getting Coffee and on Fox at the Superbowl half-time. Again, the makers of Seinfeld made a big deal of reuniting but had deniability if it didn’t take, a sage move judging by the decidedly mixed reaction. Internet TV reunions have had fairly ambivalent receptions in general, not least Netflix’s revival of cult sitcom Arrested Development. Coming seven years after the series finale, this was a reunion sought after by fans following the show’s abrupt cancellation after only three seasons. Virtually all the cast returned and the fifteen-part series played on longstanding themes, storylines and characterisations with a new ‘story-maze’ concept complimenting Netflix’s instant delivery of all episodes. The innovative storytelling was necessary, but the rest felt too much like fan-fiction, a grotesque re-imagining of the original deviating from and souring its memory in unpleasant ways. It brought critical derision on the stars, creator Mitchell Hurwitz and Netflix executives, the latter appearing to be cashing in more than creating. If there’s a lesson here, it’s that people want reunions more than they ever want to see them happen. That’s why commercials are a happy medium for reuniting TV shows. The Danone Full House cast reunion and Radio Shack tribute to 80s TV shows bring programmes back and then move on to the next – hopefully new – show.
Watching TV with Americans 
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